When the first COVID-19-lockdown was called five years ago, a worldwide phenomenon could be observed: people who suddenly were no longer allowed to get in front of the door, stood on their balcony or in front of the window in the evening to get together applaud. The applause was particularly important to the many nursing staff in hospitals who helped to contain and save the pandemic. Even then it was clear that this well -intentioned expression of solidarity would not be enough in order to reform this ailing health system for many countries beforehand. In fact, promises of personnel structure and better payment were quickly forgotten again. Since then, little has also moved in German health care. Due to the increasing outsourcing of the population in the next few years, the situation will worsen because even fewer and fewer young people want to do such jobs.
A film like “heroine“So is long overdue, even if he will not necessarily ensure that the number of applications will be higher. To do this, he puts his finger in the wound and provides an honest image of what nursing staff must (normal 'do as a matter of course in' normal 'times. In German-Swiss co-production, Leonie Benesch (“Der Schwarm”) plays a trained nurse. For a layer, your everyday work is accompanied by the camera. That sounds little spectacular at first. But under the direction of Petra Volpe (“The Divine Order”), a drastic slalom run becomes from the corridors of a hectic high operation, where tensions arise, whip up emotions and death is omnipresent. Surprisingly, “heroine” has all the ingredients that also make up a high -speed thriller. This also works by a heroic leading actress with whom you – whether you want or not – identify more and more.
Floria Lind (Leonie Benesch) can only briefly breathe when elevator.
For Floria Lind (Leonie Benesch), a new day is on work. She is a trained nurse in the surgery of a Zurich hospital. As soon as she has changed, she is already confronted with the first bad news: a colleague is ill, the late shift must be mastered in the ward for three. Stress is inevitable and it comes directly and huge: a patient urgently needs to be prepared for the operation. The old gentleman Leu (Urs Bihler) from next door is waiting for his diagnosis because he is more concerned about his dog left. Another patient keeps warning Floria that she in a hurry to need a medication.
And then there is private patient Mr. Severin (Jürg Plüss), who constantly complains from his nicely furnished single room at Floria that he has to wait in this 'juice shop' until his wishes are fulfilled. Now it should be a hot tea. But again he has to wait. An emergency messes up everything again. The patient dies, the relatives are full of grief. Floria is also affected, Mr. Severin only serves his tea after an hour. He insults the sister in the worst until she loses control for a short moment …
Not a compulsory film, but incredibly exciting cinema
With an amazing sense of dramaturgy, Petra Volpe turns the voltage screw further and further on the total term of 92 minutes. From all sides it suddenly clashes to the protagonist. She has to provide inhumane, but never lose her humanity. It ends up, remains friendly and recognizes moments of crisis. For example, when a frightened old lady needs all her attention. How she starts with a children's song with her in this situation is one of the particularly touching scenes of the film. There are some of them when you hear about the worries and blows of fate of the sick. The film offers sympathy, but does not lose itself in pity. The overall events in a hospital is far too urgent. But when death has knocked on again and it takes a short moment of prayer, it is also good for the viewers in the cinema. Because in the course of the action, they too have long since understood that the race against time continues and may never end.
Like Floria Lind, you are once again in the middle of bustle again, catch yourself how to try to remember every concern so as not to forget anyone. The protagonist would like to call: Please remember to raise the syringe, to confront the chief doctor, to see again with the cancer patient, who is currently visiting her two young children. You can almost get one with the figure and ultimately only be amazed at how conscientious it is, how every movement sits and how it can endure it all for so long. She only drives out of the skin once when she hits the arrogance of the annoying private patient with full force. But even for us this moment looks like a liberation, with the willingness to face all consequences.
Multitasking would be an understatement – and the audience tries to remember everything with Floria that she still has to take care of.
Just like her film figure, Leonie Benesch, who was there in the Oscar race in the Oscar race in the past two years, also seems to be shoulder. Of course we know that it is different and that it takes an unbelievable number of people to realize a film. But that this impression will even stand out how well the concept of “heroine” works. There is identification with a young woman who does a work that would be sufficient to employ at least two people.
The film is not even accusing. Because at the same time it is noticeable how much it burns for this profession. The figure of Floria Lind stands for everyone who wants to help other people – no matter how little money and appreciation they get for it. This film wants to shake up, and although it leads us to a place that triggers most of the uncomfortable, we experience a truly real “heroine” that definitely belongs to the big screen.
Conclusion: The title could not be better chosen. “Heldin” lets us feel what it means to be a nurse. This is stirring, exciting and lets Leonie Benesch shine in her strongest role so far. In addition, the drama once again focuses on the grievances of our healthcare system. A film that is concerned with all of us.
We saw “heroine” as part of the Berlinale 2025, where he was shown in the Berlinale Special section.